"This book re-evaluates the way we examine today's digital media environment By looking at how popular culture uses different digital technologies, Digital Fandom bolsters contemporary media theory by introducing new methods of analysis Using the exemplars of alternate reality gaming and fan studies, this book takes into account a particular "philosophy of playfulness" in today's media in order to establish a "new media studies."" "Digital Fandom augments traditional studies of popular media fandom with descriptions of the contemporary fan in a converged media environment. The book shows how changes in the study of fandom can be applied in a larger scale to the study of new media in general, and formulates new conceptions of traditional media theories." ""In this web 2.0 world, where community and not content is king, the fan marks a new form of interactive subjectivity that deconstructs the usual categories of consumer and producer. Paul Booth's Digital Fandom breaks new ground in the investigation of this subject, demonstrating how it reorganizes and reorients the field of new media studies" ---David J. Gunkel, Presidential Teaching Professor, Northern Illinois University, Author of Hacking Cyberspace and Thinking Otherwise" ""From blogs to ARGS, wikis to social networking sites, Paul Booth provides an in-depth tour of how fans straddle and traverse the boundary between television and digital media. With a theoretically rich analytic eye, Digital Fandom breaks new ground for the next generation of media scholarship" ---Jason Mittell, Middlebury College, Author of Television & American Culture"--BOOK JACKET.

Politics for the Love of Fandom examines what Ashley Hinck calls “fan-based citizenship”: civic action that blends with and arises from participation in fandom and commitment to a fan-object. Examining cases like Harry Potter fans fighting for fair trade, YouTube fans donating money to charity, and football fans volunteering to mentor local youth, Hinck argues that fan-based citizenship has created new civic practices wherein popular culture may play as large a role in generating social action as traditional political institutions such as the Democratic Party or the Catholic Church. In an increasingly digital world, individuals can easily move among many institutions and groups. They can choose from more people and organizations than ever to inspire their civic actions—even the fandom for children's book series Harry Potter can become a foundation for involvement in political life and social activism. Hinck explores this new kind of engagement and its implications for politics and citizenships, through case studies that encompass fandoms for sports, YouTube channels, movies, and even toys. She considers the ways in which fan-based social engagement arises organically, from fan communities seeking to change their world as a group, as well as the methods creators use to leverage their fans to take social action. The modern shift to networked, fluid communities, Hinck argues, opens up opportunities for public participation that occurs outside of political parties, houses of worship, and organizations for social action. Fan-based citizenship performances help us understand the future possibilities of public engagement, as fans and creators alike tie the ethical frameworks of fan-objects to desired social goal, such as volunteering for political candidates, mentoring at-risk youth, and promoting environmentally friendly policy. Politics for the Love of Fandom examines the communication at the center of these civic actions, exploring how fans, nonprofits, and media companies manage to connect internet-based fandom with public issues.

An examination of how nonprofessional archivists, especially media fans, practice cultural preservation on the Internet and how “digital cultural memory” differs radically from print-era archiving. The task of archiving was once entrusted only to museums, libraries, and other institutions that acted as repositories of culture in material form. But with the rise of digital networked media, a multitude of self-designated archivists—fans, pirates, hackers—have become practitioners of cultural preservation on the Internet. These nonprofessional archivists have democratized cultural memory, building freely accessible online archives of whatever content they consider suitable for digital preservation. In Rogue Archives, Abigail De Kosnik examines the practice of archiving in the transition from print to digital media, looking in particular at Internet fan fiction archives. De Kosnik explains that media users today regard all of mass culture as an archive, from which they can redeploy content for their own creations. Hence, “remix culture” and fan fiction are core genres of digital cultural production. De Kosnik explores, among other things, the anticanonical archiving styles of Internet preservationists; the volunteer labor of online archiving; how fan archives serve women and queer users as cultural resources; archivists' efforts to attract racially and sexually diverse content; and how digital archives adhere to the logics of performance more than the logics of print. She also considers the similarities and differences among free culture, free software, and fan communities, and uses digital humanities tools to quantify and visualize the size, user base, and rate of growth of several online fan archives.

A revealing look at the pleasure we get from hating figures like politicians, celebrities, and TV characters, showcased in approaches that explore snark, hate-watching, and trolling The work of a fan takes many forms: following a favorite celebrity on Instagram, writing steamy fan fiction fantasies, attending meet-and-greets, and creating fan art as homages to adored characters. While fandom that manifests as feelings of like and love are commonly understood, examined less frequently are the equally intense, but opposite feelings of dislike and hatred. Disinterest. Disgust. Hate. This is anti-fandom. It is visible in many of the same spaces where you see fandom: in the long lines at ComicCon, in our politics, and in numerous online forums like Twitter, Tumblr, Reddit, and the ever dreaded comments section. This is where fans and fandoms debate and discipline. This is where we love to hate. Anti-Fandom,a collection of 15 original and innovative essays, provides a framework for future study through theoretical and methodological exemplars that examine anti-fandom in the contemporary digital environment through gender, generation, sexuality, race, taste, authenticity, nationality, celebrity, and more. From hatewatching Girls and Here Comes Honey Boo Boo to trolling celebrities and their characters on Twitter, these chapters ground the emerging area of anti-fan studies with a productive foundation. The book demonstrates the importance of constructing a complex knowledge of emotion and media in fan studies. Its focus on the pleasures, performances, and practices that constitute anti-fandom will generate new perspectives for understanding the impact of hate on our identities, relationships, and communities.

A Companion to Media Fandom and Fan Studies offers scholars and fans an accessible and engaging resource for understanding the rapidly expanding field of fan studies. International in scope and written by a team that includes many major scholars, this volume features over thirty especially-commissioned essays on a variety of topics, which together provide an unparalleled overview of this fast-growing field. Separated into five sections—Histories, Genealogies, Methodologies; Fan Practices; Fandom and Cultural Studies; Digital Fandom; and The Future of Fan Studies—the book synthesizes literature surrounding important theories, debates, and issues within the field of fan studies. It also traces and explains the social, historical, political, commercial, ethical, and creative dimensions of fandom and fan studies. Exploring both the historical and the contemporary fan situation, the volume presents fandom and fan studies as models of 21st century production and consumption, and identifies the emergent trends in this unique field of study.

When the BBC's Sherlock debuted in summer 2010--and appeared in the U.S. on PBS a few months later--no one knew it would become an international phenomenon. The series has since gathered a diverse and enthusiastic fandom. Like their hero, Sherlock fans scrutinize clues about the show's deeper meaning, as well as happenings off screen. They postulate theories and readings of the characters and their relationships. They have tweeted with "The Powers That Be," mobilized to filming locations via #Setlock, and become advocates for LGBTQIA communities. Sherlock's digital communities have changed the way that fans and series creators interact in person and online, as each publicly takes "ownership" of beloved television characters who represent far more than entertainment to fans.

"From Gifs to vids, from tourist attractions to digital costuming, from Trekkers to Inspector Spacetime, Media Play illuminates the multiple economic, cultural, and social links between fans and the media industries"--